1973 EXPLOITATION TRIPLE FEATURE: ANDY WARHOL’S FRANKENSTEIN, SATANIC RITES OF DRACULA, AND SISTERS

Andy Warhol’s Frankenstein was the fourth film directed by Paul Morrisey under Andy Warhol‘s banner; although it seems that apart from co-producing, the American pop art icon had no creative input, which may be why, in Europe, it was released under the title Flesh For Frankenstein. Morrisey made this film back-to-back with Andy Warhol’s Dracula, which we will cover when 1974 rolls around. Both films star Udo Kier and  Joe Dallesandro (who also starred in the Morrissey/Warhol “hustler” trilogy FleshTrash, and Heat). Frankenstein is the more outrageous of the two horror films. It stars Kier as a fascistic, narcissistic, necrophiliac Baron Frankenstein who, in his most infamous scene, cuts open the ribcage of a woman (Dalila Di Lazzaro) and has sex with her gall bladder.  Naturally, this scene made Kier a cult celebrity, a position he would cement with Dracula.

Still from Andy Warhol's Frankenstein/Flesh for Frankenstein (1973)

 

Shot in 3-D, Frankenstein aims directly to satirize the sexploitation/horror demographic with a high quota of gore and sex—the latter supplied by Monique Van Vooren as the unloved nymphomaniac Baroness, wife and sister to the Baron, and Dallesandro as the stable boy who services her. Aptly, the film opens with the Baron and Baroness as children dissecting and  beheading a doll, but “Addams Family” this isn’t: the good doctor’s supply of cadavers comes from bordellos rather than the traditional cemetery. Kier and Van Vooren are ideally cast, with her armpit sucking competing with his gallbladder screwing. Although undeniably dated, it’s every bit as outrageous as it sounds.

When writer William Peter Blatty  and director William Friedkin unleashed The Exorcist on the world, few had any idea the impact it would make. Shining across our small 1973 TV sets, the original trailer was subdued. Although the book upon which it was based had been a best seller, only its readers knew what it was about. I don’t remember a lot of publicity beforehand, but all that changed on the weekend it was released. Newspapers were issuing warnings of something unimaginably terrifying, theaters were equipped with barf bags, and in our neck of the woods, churches were condemning it as propaganda coming from Satan himself. Indeed, the fallen angel had been rising quite high since 1968’s Rosemary’s Baby, but, at least as far as box office, even that seminal (and superior) film did not have the impact of The Exorcist. Initially, its critical standing was mixed, although now it seems to top all those “best of” horror lists. Word of mouth made a trend of fear, and it was years before anyone from our tribe saw it.

The tidal wave of Satanic themed films to follow was unprecedented, and, needless to say, preachers and Sunday school teachers found job security for another decade. The original was followed by John Boorman’s visually dazzling camp disaster, Exorcist II: The Heretic (1977), and Blatty’s belated Exorcist III (1990), which some feel is actually superior to the original.

With his newfound popularity, Old Nick signed up for Satan’s School for Girls to mess with that “forgotten” Charlie’s angel, Kate Jackson, and Farrah’s replacement, Cheryl Ladd. He has a pretty good time of it too, and his fun is contagious.

Among the infamous DVD double features hosted by the buxom camp horror diva, Elvira (Cassandra Peterson), is Werewolf of Washington and Satanic Rites Of Dracula. The former, directed by Milton Moses Ginsberg and starring Dean Stockwell is as dreadful as it sounds. Worse, it’s humorless.

Alan Gibson’s Satanic Rites of Dracula is a direct sequel to his previous Dracula A.D. 1972, with the vampire in 1970s London. Gibson later directed “Silent Scream” (with Peter Cushing) and “Two Faces Of Evil,” which are two superior (and stylishly surreal) episodes from the cult TV series “Hammer’s House Of Horrors.”

Although superior to its 1972 AD predecessor for sheer abnormality alone, Rites is still one hell of a mess. In his brief screen time, the Price of Darkness ( Christopher Lee) has become an eccentric recluse in a mansion, plotting to destroy the world by unleashing a bacterial virus! Oh, and he is connected to a Satanic cult, which of course brings in Scotland Yard and Van Helsing (Cushing again), who easily dispatches the vampire with a thorn bush (vapidly symbolic of Jesus’ crown of thorns). The preposterousness of this Dr. Who and the Avengers vs. a vampire Howard Hughes (or is that Fu Manchu?) scenario is exacerbated by an evil Asian agent, assassins on bikes, biological warfare, female vampires, and nudity, making for an idiosyncratic hodgepodge. Lee was rightly fed up with writers who had no clue what do with the character, and chose to remain permanently staked after this. After making his belated appearance, Dracula suffers what has to be the most absurd of his screen deaths. Amazingly, his fellow bloodsuckers have an even more embarrassing exit, snuffed out by a sprinkler.Both Lee and Cushing muster little enthusiasm. Gibson steers through a maze of nonsense with a degree of competence, although the script clearly needed something exceptional. Sill, with all its flaws, this is an unexpected exit for the series, and is bizarre enough to be held with affection by some fans of Hammer studios.

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TALES THAT WITNESS MADNESS (1973) & FROM A WHISPER TO A SCREAM (1987)

tales-that-witness-madness-1973
Freddie Francis’ Tales That Witness Madness, made for World Film Services in 1973, is clearly patterned after the Amicus horror anthologies. Of course, what better way to emulate the competition than to acquire the man who directed nearly half of the Amicus franchise, along with several of that studio’s top draw actors?

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The setup is simple and familiar enough: Donald Pleasance is the resident psychiatrist of an asylum, giving friend Jack Hawkins (in his final film) a tour of the grounds. Along the way, he tells the stories of four inmates.

In “Mr. Tiger,” Russell Lewis’ imaginary feline pet beast takes a sour view of his master’s verbally abusive parents. Just how imaginary the tiger is questioned after some clawing on the door and blood splattering on Oedipal walls.

A time traveling bicycle is at the malevolent heart of “Penny Farthing.” It stars Peter McEnery as an antique shop owner and Suzy Kendall as his wife. Soon, they discover the bike is literally antique and … we’re so sorry, Uncle Albert.

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“Mel” stretches credibility when Michael Jayston is more interested in an oddly shaped tree than he is in oversexed wife Joan Collins in something pink from Frederick’s of Hollywood. It’s the most remembered segment for a reason—it’s a camp hoot, with Collins channeling her inner jealous diva. The tree tries to upstage the human competition, which is not an easy task against Joan in a flimsy nightie, wielding an axe.

tales-that-witness-madness-1973

tales-that-witness-madness-1973

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DORIS WISHMAN’S DEADLY WEAPONS (1974)/DOUBLE AGENT 73 (1974)

DEADLY WEAPONS (1974 Doris Wishman) Theatrical poster

Doris Wishman‘s Deadly Weapons (1973) and Double Agent 73 (1974), both starring 73FF(!)-32-36 Chesty Morgan, makes for a bizarre double feature, and a bizarre Something Weird Blu-ray release. This set (entitled “Chesty Morgan’s Bosom Buddies”) also includes a third feature The Immoral Three (1975), which does not include Morgan (who had, remarkably, taken the star bit between her teeth and was promptly sacked by Wishman). We focus on the first two features starring Chesty.

DEADLY WEAPONS (1974)

John Waters had the incomparable Divine. Wishman had the incomparable Chesty Morgan. The big difference is that Divine could actually act. Morgan, an exploitation freak of nature, was the energizer bunny rabbit to Wishman’s directorial enthusiasm.

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